Background Image
image description



Courtyard of







M Plus and West Kowloon Cultural District Logo
Image Modal

In this exhibition, Trevor Yeung invites us to reflect on the expectations and social codes that condition the way we relate to one another. Social conventions are a natural product of our desire for order, efficiency, and control. However, our feelings make precise, rational calculation impossible. For Yeung, this emotional complexity not only encompasses human relationships, but also extends to the plants and animals that are part of our ecology in the widest sense. With his profound understanding of botany, horticulture, and aquatic ecosystems, Yeung weaves together deeply personal encounters and astute social observations in intricate sculptures, photographs, and installations. Hong Kong is an enduring reference and source of material for Yeung, but the emotional resonance of his work and his concern with power dynamics are universal in their scope. Yeung explores sentimentality, desire, and relationships of power through the concept of attachment. Here, attachment manifests as feelings of connection with objects as well as a longing for someone special. Yeung’s presentation articulates his intimate experiences and keen observations of the relationships between humans and aquatic systems, drawing from references that include his father’s seafood restaurant, pet shops, feng shui arrangements, and the fish he kept as a child.

The exhibition is organised into four installations. Each features fully operational aquariums, complete with filters and accessories, yet devoid of living fish. The palpable sense of absence that saturates the exhibition conjures the cyclical nature of life and the delicate equilibrium of social ecology, which is always susceptible to disorder.

The site-specific work Pond of Never Enough occupies the courtyard. The work is a fountain made of fish tanks reminiscent of those found in Chinese seafood restaurants. The fishless fountain extracts water from the Grand Canal and filters clean water back into the lagoon, foregrounding the ecosystem that sustains Venice as well as the workings of the city’s tourist economy. Throughout the exhibition period, the fountain is cleaned regularly to draw attention to the labour needed to support these fragile habitats and, by extension, the systems that structure our lives. Several self-sustaining gardens of lotuses are placed throughout the courtyard alongside the fountain in an installation titled Mx. Trying-My-Best. Lotus flowers, which are symbols of purity in Chinese iconography, can blossom amid landfills and muddy water, highlighting the plant’s strength and ability to adapt to difficult conditions as beacons of hope and icons of determination.

The interior of the exhibition space begins with a reception area that is designed to recall the entrances of small businesses in Hong Kong. An installation comprising two aquariums and second-hand furniture, Two Unwanted Lovers blurs the boundaries between decoration, belief, and commerce. Fish tanks and miniature decorations with flowing water are considered auspicious and are common decorative elements in Chinese businesses. Deconstructing cultural symbols is a recurring aspect of Yeung’s practice, manifested in the set of moss- and algae-covered fish tanks as well as Rolling Gold Fountain, a sculpture featuring rotating spheres that resemble citrines, which are rare gemstones thought to bring wealth and fortune.

The installations Gate of Instant Love and Cave of Avoidance (Not Yours) investigate the feelings of gratification and excitement that come with taking home a new pet. Fish in Hong Kong pet shops are often contained in plastic bags suspended from hanging systems on the wall. Nestled snugly under the archway of the exhibition venue, Gate of Instant Love invites visitors into a restrained version of a pet shop display, featuring only a few empty bags and S-hooks. Moving through the gate and on the left side, the photographic work the stealth that doesn’t hurt/the scratch that doesn’t help echoes the inflated plastic bags on the archway. The image illustrates a broken and used plastic bag that once held water and fish, alluding to the consequences that arise when our innermost desires override thoughtful consideration.

Turning to the right side, visitors arrive at the physical and conceptual centre of the exhibition. Little Comfy Tornado contains a miniature tornado whirling inside a small fish tank perched atop a tower of stacked plant stools. It is connected to a professional-grade filtration system through a network of tubing. The juxtaposition of the modest aquarium with the seemingly excessive support mechanism evokes a sense of unease and invites consideration of the bureaucratic heaviness that often undergirds the simplest actions in a social system. Little Comfy Tornado’s framing of absence in an atmosphere of vague menace invites new associations about how easily the desire for care and control can spill over into oppression.

Situated in the last room, Cave of Avoidance (Not Yours) is an immersive installation that recreates the interior of a pet shop, albeit one devoid of living fish. Encased within a darkened room, the installation is illuminated only by the lighting systems of the fish tanks. The details of each tank are precisely composed in layers, encompassing decorative elements, air pumps, and a custom breeding apparatus handmade from Hong Kong terracotta. By omitting the fish from the methodically arranged rows of fish tanks, Yeung leads us to reconsider our motivation for creating artificial ecosystems. A closer examination of these vacant containers reveals that the backs of the tanks are mirrored. We might find ourselves replacing the fish in the tanks, inserting ourselves into a system that defines our control over another species.

Finally, placed discreetly throughout the exhibition space are Night Mushroom in shade (Teak Cabinet) and Night Mushroom Colon (Hong Kong in Venice), small clusters of electric night lamps that emerge from the shadows, waiting for visitors to discover them. The mushrooms inhabit the space freely, independent of the strict sequence of galleries. Their presence seems to ask how an entity with no power of its own can survive outside of a rigidly defined system.

In his landscapes of fishless aquariums, Yeung articulates his fascination with artificiality in nature and urban space. He highlights the nuanced relationship between the fish, their caretaker, and a meticulously controlled aquarium. Whether we find ourselves in the position of the fish, the caretaker, or an inanimate part of the landscape, an attachment inevitably arises. At its heart, this is a yearning to be an irreplaceable, distinctly defined part of something larger than ourselves, an ache to love and be loved.

Olivia Chow



佔據庭院的場域特定作品《永不足夠貪婪池》是一座由魚缸組成的噴泉,令人想到海鮮酒家的魚缸。無魚的噴泉從威尼斯大運河抽水,並將過濾乾淨的水排回潟湖,凸顯維持威尼斯的水生生態系統,以及雙年展在這座城市的藝術、旅遊經濟和公共建設中發揮的作用。噴泉在展覽期間將定期清潔,令人留意到要維持這些脆弱生態所需花費的工夫,乃至維繫構成我們生活那些系統所需的心力 。此外,庭院內亦設有數個自給自足的蓮花園,這個裝置作品名叫《盡力先生》。蓮花在中華文化象徵純潔,出淤泥而不染,在惡劣環境中益顯堅強、靈活適應,是希望與決心的標誌。








Download Exhibition Brochure 下載展覽小冊子

This book is published on the occasion of the exhibition Trevor Yeung: Courtyard of Attachments, Hong Kong in Venice, his solo presentation as Hong Kong’s Collateral Event at the 60th International Art Exhibition – La Biennale di Venezia. Edited by Olivia Chow, the exhibition’s curator, the richly illustrated publication is Yeung’s first monograph.

Editor: Olivia Chow Contributors: Doryun Chong, Olivia Chow, Billy Tang, Trevor Yeung Format: Softcover Languages: English and Traditional Chinese Size: 176 × 250 mm Extent: 184 pages Illustrations: 139 pages Publisher: M PLUS Museum Limited ISBN: 978-988-78130-3-3 Retail Price: HK$180


編輯:周宛昀 作者:鄭道鍊 、周宛昀、曾明俊、楊沛鏗 規格:平裝本 語言:英文及繁體中文 尺寸:176 × 250 毫米 頁數: 184頁 圖片:139張 出版方:M PLUS Museum Limited ISBN:978-988-78130-3-3 價格:港幣180元
Thumbnail for video 1

Exhibition Trailer


Thumbnail for video 2

Exhibition Introduction


As part of its commitment to nurturing local talent interested in working in the visual art field, M+ and the Hong Kong Arts Development Council have launched an internship programme for the 60th International Art Exhibition – La Biennale di Venezia, offering interns the chance to gain unique insight into the workings of the world’s oldest and most renowned international art exhibition. The programme will begin in April, and will be arranged in two divisions, inviting two technical and twelve exhibition interns to join the M+ team. Meet our interns and learn about their experiences while they work with us in Venice through their blog posts.

M+及香港藝術發展局一直重視培育本地藝術人材,這項實習計劃為有志者提供參與大型國際藝術展覽的寶貴機會。我們現正籌辦第六十屆威尼斯雙年展的實習計劃,提供實習生一個獨有的機會親身體驗並參與這歷史悠久的著名國際藝術展。此計劃將於四月起分兩個組別舉行,兩位技術及十二位展覽實習員將與M+團隊緊密合作,籌劃在威尼斯舉行的展覽。 實習生將會定期更新此網誌,分享他們於威尼斯實習的經歷及所見所聞。

Trevor Yeung (born 1988, Guangdong) was raised, lives, and works in Hong Kong. In his artistic practice, he excavates the logic of closed systems and the ways in which they create and contain emotions and behaviour. Fascinated by ecology, horticulture, and aquatic ecosystems, Yeung presents carefully staged objects, photographs, animals, and plants in his mixed-media works to address human relationships and the artificiality of nature.

Yeung has participated in numerous international exhibitions, including the Biennale of Sydney (2024); the Singapore Biennale (2022); the Kathmandu Triennale (2022); la Biennale de Lyon (2019); EVA International, Dublin (2018); the Dhaka Art Summit (2018); and the Shanghai Biennale (2015). His work has been exhibited at institutions including Gasworks, London (2023); Musée d'Art Moderne de Paris (2022); Tai Kwun Contemporary, Hong Kong (2022); Jameel Arts Centre, Dubai (2022); PinchukArtCentre, Kyiv (2021); M+, Hong Kong (2021); Power Station of Art, Shanghai (2021); Para Site, Hong Kong (2020); and Stiftung Skulpturenpark Köln (2020). He was shortlisted for the Sigg Prize 2023, the Future Generation Art Prize in 2021, and the BMW Art Journey award in 2015.

Yeung’s work is held in the collections of Centre Pompidou, Paris; Stiftung Skulpturenpark Köln; Musée d'Art Moderne de Paris; Kadist Art Foundation, Paris and San Francisco; FRAC Alsace; and M+, Hong Kong.


楊沛鏗曾參與多項國際展覽,包括悉尼雙年展(2024)、新加坡雙年展(2022)、加德滿都三年展(2022)、里昂雙年展(2019)、愛爾蘭EVA國際雙年展(2018)、達卡藝術峰會(2018)和上海雙年展(2015);其作品曾於世界各地機構展出,包括倫敦Gasworks藝術工作室(2023)、巴黎現代藝術博物館(2022)、香港大館當代美術館(2022)、杜拜Jameel 藝術中心(2022)、基輔PinchukArtCentre(2021)、香港M+博物館(2021)、上海當代藝術博物館(2021)、香港Para Site藝術空間(2020)和科隆雕塑公園(2020)。楊沛鏗入圍「希克獎」(2023)、「未來世代藝術獎」(2021)和「寶馬藝術之旅獎」(2015)。

楊沛鏗的作品獲巴黎龐比度中心、科隆雕塑公園、巴黎現代藝術博物館、巴黎及三藩市Kadist藝術基金會、法國FRAC Alsace基金會和香港M+博物館收藏。

Olivia Chow is a curator and artist living in Hong Kong. As Assistant Curator, Visual Art, at M+, she works with artists to create exhibitions, publications, and public programmes, including Nalini Malani: In Search of Vanished Blood (2012/2022), Nalini Malani: Vision in Motion (2021), Shirley Tse: Stakes and Holders (2020), and Shirley Tse: Stakeholders, Hong Kong in Venice (2019), Hong Kong’s Collateral Event in the 58th International Art Exhibition – La Biennale di Venezia. Chow contributes to building M+’s visual art collection by managing the inaugural M+ International Council for Visual Art and leading acquisitions from around Asia and beyond. Prior to joining M+, she worked in various curatorial capacities at Para Site in Hong Kong (2015–2017) and at The Works Art and Design Festival in Edmonton, Canada (2010–2014).

周宛昀是香港策展人兼藝術家,現為M+視覺藝術助理策展人。她曾與不同藝術家合作策劃展覽、出版書籍和舉辦不同節目,包括「納里尼.馬拉尼:尋找消失的血」(2012/2022)、「納里尼.馬拉尼:視界流動」(2021)、「謝淑妮:與事者與事」(2020),以及在第58屆威尼斯視藝雙年展呈獻香港的外圍展「謝淑妮:與事者,香港在威尼斯」(2019)。她曾管理首屆M+視覺藝術國際委員會,並從亞洲及其他地區購藏作品,對於建立視覺藝術藏品貢獻良多。加入M+前,她曾在香港Para Site藝術空間(2015–2017)和加拿大埃德蒙頓The Works Art and Design Festival(2010–2014)負責各項策展工作。

About M+

M+ is a museum dedicated to collecting, exhibiting, and interpreting visual art, design and architecture, moving image, and Hong Kong visual culture of the twentieth and twenty-first centuries. In Hong Kong’s West Kowloon Cultural District, it is one of the largest museums of modern and contemporary visual culture in the world, with a bold ambition to establish ourselves as one of the world’s leading cultural institutions. M+ is a new kind of museum that reflects our unique time and place, a museum that builds on Hong Kong’s historic balance of the local and the international to define a distinctive and innovative voice for Asia’s twenty-first century.

About the West Kowloon Cultural District

The West Kowloon Cultural District is one of the largest and most ambitious cultural projects in the world. Its vision is to create a vibrant new cultural quarter for Hong Kong on forty hectares of reclaimed land located alongside Victoria Harbour. With a varied mix of theatres, performance spaces, and museums, the West Kowloon Cultural District will produce and host world-class exhibitions, performances, and cultural events, providing twenty-three hectares of public open space, including a two-kilometre waterfront promenade.

About the Hong Kong Arts Development Council

Established in 1995, the Hong Kong Arts Development Council (HKADC) is a statutory body set up by the Government to support the broad development of the arts in Hong Kong. Its major roles include grant allocation, policy and planning, advocacy, promotion and development, and special projects. The mission of HKADC is to support and promote the development of 10 major art forms in literary arts, performing arts, visual arts as well as film and media arts in Hong Kong. Aiming to foster a thriving arts environment and enhancing the quality of life of the public, HKADC is also committed to facilitating community-wide participation in the arts and arts education, encouraging arts criticism, raising the standard of arts administration, and contributing on policy research.








Bernard Charnwut Chan, Chairman, M+ Board Kenneth Fok Kai-kong, Chairman, Hong Kong Arts Development Council


Olivia Chow

Project Team of M+, West Kowloon Cultural District

Jenny Tam, Assistant Manager, Exhibitions Dorothea Lam, Curatorial Assistant

Supported by

Doryun Chong, Deputy Director, Curatorial, and Chief Curator Veronica Castillo, Deputy Director, Collection and Exhibition Ada Hung, Senior Manager, Exhibitions We would like to acknowledge the support of Fanny Chan, Herman Lau, Hiuwa Li, and Joyce Hei Ting Wong from the artist's studio, and all other members of the staff at M+ and the West Kowloon Cultural District Authority who made the exhibition possible.

Project Team of the Hong Kong Arts Development Council

Winsome Chow, Chief Executive Lorenex Leung, Arts Development Director Hilda Ho, Arts Development Executive Manager Helen Lee, Arts Development Officer Hazel Yau, Project Coordinator

Coordinator in Venice

PDG Arte Communications


Studio Hik


Moving Image Studio


Studio Hik Jun Young Bang


陳智思,M+董事局主席 霍啟剛,香港藝術發展局主席




譚蔚廷,助理展覽經理 林頌恩,策展助理


鄭道鍊,副總監及總策展人 卡絲瑤,副總監(藏品及展覽) 洪竹筠,資深展覽經理 我們在此特別感謝藝術家工作室的陳趣源、劉志鏗、李曉華及黃熙婷的支持,以及所有令展覽得以圓滿舉行的M+及西九文化區管理局的同事。


周蕙心,行政總裁 梁詠詩,藝術發展總監 何敏婷,藝術發展執行經理 李凱倫,藝術發展主任 丘穎晞,項目統籌


PDG Arte Communications


Studio Hik




Studio Hik Jun Young Bang
Map of Venice Biennale

Dates and times

20 April – 24 November 2024 From 20 April to 30 September 2024 Tuesdays to Thursdays and Sundays: 11am – 7pm Fridays and Saturdays: 11am – 8pm From 1 October to 24 November 2024 Tuesdays to Sundays: 10am – 6pm Last admission time is fifteen minutes before closing. Closed on Mondays Except 22 April, 17 June, 22 July, 2 September, 30 September, 18 November



2024年4月20日至11月24日 2024年4月20日至9月30日 星期二至四及星期日:上午11時至晚上7時 星期五至六:上午11時至晚上8時 2024年10月1日至11月24日 星期二至日:上午10時至下午6時 最後入場時間為閉館前15分鐘 逢星期一休館 4月22日、6月17日、7月22日、9月2日、9月30日、11月18日除外


About La Biennale di Venezia

The Venice Biennale, founded in 1895, has been one of the most important cultural institutions in the world. Covering a wide range of disciplines, including art, architecture, cinema, dance, music, and theatre, it aims to promote new artistic trends in contemporary arts. The documentation of its main activities is contained in its own ‘Contemporary Arts Archive’, which is a key point of reference for the study of contemporary arts. For more information, please visit

About Hong Kong in Venice

Since Hong Kong’s debut in Venice in 2001, the goal has always been to use the Biennale as a platform to promote Hong Kong artists on the global stage. The past participating visual art artists include Angela Su, Shirley Tse, Samson Young, Tsang Kin-wah, Lee Kit, Kwok Mang-ho (Frog King), Pak Sheung Chuen, MAP Office, Hiram To, Amy Cheung, anothermountainman, Chan Yuk-keung, Para/Site Collective, Ho Siu-kee, Leung Chi-wo, and Ellen Pau. This edition of the Biennale is the sixth collaboration between M+ and the Hong Kong Arts Development Council, following the acclaimed reviews for Lee Kit's 'You (you.)'. in 2013, Tsang Kin-Wah: The Infinite Nothing in 2015, Samson Young: Songs for Disaster Relief in 2017, Shirley Tse: Stakeholders in 2019, and Angela Su: Arise in 2022 on this representation of Hong Kong contemporary art at one of the most important international platforms.

List for Past Exhibitions

2023 Transformative Hong Kong 2022 Angela Su: Arise, Hong Kong in Venice 2021 Redistribution: Land, People and Environment 2019 Shirley Tse: Stakeholders, Hong Kong in Venice 2018 Vertical Fabric: density in landscape 2017 Samson Young: Songs for Disaster Relief, Hong Kong in Venice 2016 Stratagems in Architecture: Hong Kong in Venice 2015 Tsang Kin-Wah: The Infinite Nothing, Hong Kong in Venice 2014 Fundamentally Hong Kong? – DELTA FOUR 1984 – 2044 2013 ‘You (you.)’ 2012 Inter Cities / Intra Cities: Ghostwriting the Future 2011 Frogtopia. Hongkornucopia 2010 Quotidian Architectures 2009 Making (Perfect) World: Harbour, Hong Kong, Alienated Cities and Dreams 2008 Fabrica Cultura: Hong Kong in Venice 2007 STAR FAIRY 2006 VICE VERSA: displacing acts, lives & thresholds of a hyper city 2005 investigation of a journey to the west by micro + polo


成立於1895年的威尼斯雙年展是全球最重要的文化機構之一,涵蓋的範疇非常廣泛,包括了藝術、建築、電影、舞蹈、音樂和劇場,旨在促進及推廣各類型當代藝術的嶄新趨勢。其「當代藝術檔案庫」對雙年展主要活動的記錄更是研究當代藝術的關鍵素材。 更多資訊,請瀏覽


自2001年於威尼斯雙年展首度亮相以來,我們一直以來的目標都是透過雙年展來向國際藝壇展示香港藝術家的優秀作品。歷來曾經參與威尼斯雙年展的香港藝術家,包括徐世琪、謝淑妮、楊嘉輝、曾建華、李傑、郭孟浩(蛙王)、白雙全、MAP Office、杜子卿、張韻雯、又一山人、陳育強、Para/Site Collective、何兆基、梁志和及鮑藹倫。 今次是M+與香港藝術發展局第六度攜手協力,在威尼斯雙年展這知名的國際舞台上呈現香港當代藝術。過往備受讚賞的參展展覽包括:李傑的「你(你)。」(2013)、「曾建華⸺無盡虛無」(2015)、「楊嘉輝的賑災專輯」(2017)、「謝淑妮:與事者」(2019),以及「徐世琪:懸浮」(2022)。


2023 港創未來 2022 徐世琪:懸浮,香港在威尼斯 2021 重新分配:天、地、人 2019 謝淑妮:與事者,香港在威尼斯 2018 垂直肌理:密度的地景 2017 楊嘉輝的賑災專輯,香港在威尼斯 2016 建築兵法 2015 曾建華⸺無盡虛無,香港在威尼斯 2014 建基香港 三角四方 1984 – 2044 2013「你 (你)。」 2012 城間 / 城內:魅筆生城 2011 蛙托邦.鴻港浩搞筆鴉 2010 衣食住行 2009 製造 (完美的) 世界: 海洋、香港、異邦的城市與夢 2008 文化工房:香港在威尼斯 2007 星神僊 2006 反之亦燃 城市越位 2005 紅白藍西遊記

External Affairs Department, West Kowloon Cultural District Authority

International: Bolton & Quinn

Hong Kong, Mainland China & Taiwan: Edelman Public Relations Worldwide (HK) Limited

Corporate Communications, Hong Kong Arts Development Council


國際:Bolton & Quinn

香港、中國內地及台灣: 愛德曼國際公關(香港)有限公司


Background Image



Courtyard of